Late Autumn (Japan, 1960)

Family and friends of the late Shuzo Miwa have gathered for his annual memorial service, this one marking the seventh anniversary of his passing. Three of his long time friends - married Shuzo Taguchi, married Soichi Mamiya, and widowed Seiichiro Hirayama - have long known and admitted to each other that they have always been attracted to his widow, Akiko Miwa, who they believe has gotten even more beautiful as she has matured. The three friends take it upon themselves to find a husband for the Miwa's now twenty-four year old daughter, Ayako Miwa, who they believe as beautiful as her mother, and who, as a pure innocent, deserves a good husband. 

I will try not to write a whole speech proclaiming how perfectly Yasujiro Ozu composes his shots or how his color system of choice makes characters and carefully placed objects glow, but instead be thankful for the wealth of movies he gave us. Late Autumn has that grainy yet incredibly defined and mesmerizing colorization, much like Hitchcock's Vertigo (1958), and here it blends together with Ozu's tranquil film style very naturally. I guess the visuals overshadows the plot, though it's not disappointing by any stretch. Definitely a film one should go through when the Akira Kurosawa filmography has been exhausted and Ozu is next in line. 

Genre: Drama

The Third Wife (Vietnam, 2018)

In 19th century rural Vietnam, fourteen-year-old May is ready to become the third wife of a wealthy landowner. Little does she know that her hidden desires will take her by surprise and force her to make a choice between living in safety and being free.

The Third Wife marks an amazing debut by director Ash Mayfair, who for 4 months lived in a rural village in preparation for the film and to get all the customs and details right. Ash commands the camera with great confidence and you could never have thought that this is her first feature film, but she perfectly blends a disturbing tale of underage marriage with the beautiful countryside of Vietnam. The tempo is consistently composed, yet the emotional waves inside of young May are growing higher and higher. 

By some it would be considered art-house, but I hope that term doesn't scare away people from experiencing a film which is in the vein of Tran Anh Hung (Cyclo).

Genre: Drama

Serpent's Path & Eyes of the Spider (Japan, 1998)

Who knew that in 1998, we got a Japanese precursor to Park Chan-wook's Vengeance-trilogy, only this time it's a duo. 

Both directed in the same year by everyone's (you horror connoisseur's out there) favorite Japanese director Kiyoshi Kurosawa, and both dealing with the ever returning, never-dying theme of revenge. I mentioned Chan-wook because Serpent's Path especially feels like a huge inspiration for his Sympathy for Lady Vengeance (2005), only here we got a much higher body count. Serpent and Spider very much goes hand in hand, sharing some of the same actors and how they deal with the possibility of being able to exact pain on those who've ruined your life, and in some instances it gets way darker than Chan-wook's films. 

The two stories are also like different branches on the same tree, where in Spider a man discovers a darker side of himself after exacting revenge on his daughter's killer, and in Serpent a man enlists a friend to help him identify and exact revenge upon his daughter's murderer. Kurosawa manages to juggle the films plot elements not to close to each other and finds their own personalities with ease, the only thing the viewer know is that someone is going to pay for a heinous crime.

Genre: Drama/Crime

Daughter of the Nile (Taiwan, 1987)

The eldest daughter of a broken and troubled family works to keep the family together and look after her younger siblings, who are slipping into a life of crime.

Watching a film by Hou Hsiao-hsien (Café Lumière, The Assassin) is like opening a bottle of Taiwan's finest movie magic. His restrained and subtle way of shooting scenes feels like a must-have in our contemporary cinematic hell of exaggerated editing, simplified storytelling and dumbed down characters for the masses. Daughter of the Nile spoils us with a beautiful portrayal of life in 1980's Taipei's neon-soaked street-corners and crowded bars. We get to see just how close the danger lies even to those who should be far from it. 

Hou is a big name in Asian film circles, but I'm certain that if he would have been a western filmmaker his films would make a much larger splash and be acclaimed by a much larger audience. Now they sort of lives on as an old reminder of how Taiwan made films in ways critics praise directors for in modern times.

Genre: Crime/Drama

The Famous Sword Bijomaru (Japan, 1945)

Kiyone Sakurai, an apprentice swordmaker makes a sword for his guardian, Kozaemon Onoda. Onoda breaks the sword while defending his lord which eventually leads to his death at the hands of Naito, when Naito demands to marry his daughter Sasae. Sasae vows to avenge her father's death and pleads for Kiyone Sakurai to make a special sword for her. So Kiyone go to the master swordsmith Kiyohide Yamatomori to learn their craft and forge the sword.

With Bijomaru, director Kenji Mizoguchi (Ugetsu) must have made one of the first films in Japanese cinema where a woman gets to bring the pain to the bad guys, and in 1945 that wasn't exactly the norm. Clocking in at just over an hour, Bijomaru feels like a well-balanced samurai skirmish, and I like how the making of a sword is such a big part of the plot and not a romance or a story about a helpless geisha. 

It also gets harder and harder to find films in decent quality from this far back in Mizoguchi's filmography, so being able to reach this deep is always a treat. 

Genre: Drama

Mifune: The Last Samurai (US/Japan, 2015)

A feature-length documentary about the life and films of legendary actor Toshiro Mifune, weaving together film clips, archival stills, and interviews with such luminaries as Steven Spielberg and Martin Scorsese. Narrated by Keanu Reeves.

If you're at all interested in actor Toshiro Mifune and Akira Kurosawa's collaborations, Mifune should prove to be a fascinating look at their work together with the most focus on Mifune's filmography. Not just is Mifune an in-depth look at his life, but an incredible source of information and trivia from his entire film career; e.g . the man who played the original Godzilla (1954) was a petty samurai who got killed by Mifune once, and there's a lot of interviews with old actors who used to act alongside Mifune who all shares their stories of what happened on set. Even actor Koji Yakusho weighs in on how huge Mifune was in the industry.

Sure, it's a little jarring to hear a tired Keanu Reeves narrate the whole thing, but you quickly get used to it and after a while you're absorbed by stories of how Mifune loved to eat ramen between takes. Being a film with limited time, Mifune can't go into details with absolutely everything but at least it touches upon what happened between him and Kurosawa at the end of their work together. It's painfully bittersweet to hear an actress read Kurosawa's last word to his favorite actor.

All in all, this is a captivating time capsule showing the massive impact one single actor had on the film industry, and how his acting inspired people around the globe.

Genre: Documentary

Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (Japan, 2001)

Strange incidents occur when an American submarine has been destroyed by a mysterious force at sea off the shores of Guam. Only Admiral Tachibana was certain that behind the disaster was none other than the destructive King of the Monsters, Godzilla! 50 years after his attack on Tokyo in 1954, Godzilla has mysteriously returned to life to destroy Japan, and General Tachibana, whose parents died in the monster's destructive wake, was prepared for his return.

In these days of never-ending, disappointing remakes it's always nice to fall back on the originals. GMK does what a billion dollars worth of computer graphics can't: create timeless, wildly entertaining destruction. Watching this film today is just as fun as it was back in the day, and will be in many years from now due to the fact that everything is made of real props and every exploding building is an amazing spectacle. Here, the monsters have gotten an updated look, King Ghidorah is a nice guy (!) and Godzilla is back to being the main baddie. 

The plot is of course nothing to write home about, and basically follows a B-movie storyline pattern but that's forgiven the second Godzilla shows up. Cue an amazing amount of destruction, cool monster fighting scenes and a bit of hilarious monster choreography and you know you're in for a good time. GMK is a great example of what's being lost when everything is made inside of a computer, you're no longer watching hollow action but carefully planned scenes and detailed set designs.

Genre: Action/Adventure/Drama

Parasite (South Korea, 2019)

All unemployed, Kim Ki-taek's family takes peculiar interest in the wealthy and glamorous Parks for their livelihood until they get entangled in an unexpected incident.

It really starts to feel like a big event everytime director Joon-ho Bong releases a new film, and this time it's his first movie made in his native country since Mother (2009), after having being active in the west with films such as Snowpiercer (2013) and Okja (2017). Parasite is a naked look at social class, poverty and the means which we will go to to escape it, even if it means letting go of our own morality. Joon-ho portrays a scenario where a poor family get a taste of the finer things in life, but also one where you know that it'll spell disaster for everyone involved. 

As always, Joon-ho spoils us with well-crafted shots and gorgeous scenery, and constantly his direction feels so immensely thought-out where nothing is just being filmed, it's being filtered through his eyes and angled to evoke something in all of us. Parasite, which was the first Korean film to ever win the Palme d'Or, is a rush of black comedy and a look at what happens when the most fortunate meets the most desperate, no one saner than the other.

Genre: Comedy/Drama/Thriller

Long Day's Journey Into Night (China, 2018)

Luo Hongwu returns to Kaili, the hometown from which he fled 12 years earlier. As memories of an enigmatic and beautiful woman resurface - a woman he loved and whom he has never been able to forget - so, Luo Hongwu begins his search for her.

Here's a film which was caught in a bit of controversy at its release. It was marketed as a film for the general public, and nothing more of its contents were disclosed, so after the premiere there was an outrage from mislead viewers. You see, Long Day's is an art-house film and not at all the quick-paced detective drama people first thought. Film critics loved the film though and it won  a prize for Best Cinematography. That award was an obvious choice given how this movie shines with beauty. Some shots are a wonder to behold, and there was a huge buzz surrounding it's last 59-minutes which amazingly is a single no-cut tracking shot. 

For film fans in search of that kick you get when watching a fantastic director put his soul into his film. More mainstream viewers should approach with care, due to the film's tempo and overall long, lingering shots. 

Genre: Drama/Mystery

The Idiot (Japan, 1951)

Kameda, who has been in an asylum on Okinawa, travels to Hokkaido. There he becomes involved with two women, Taeko and Ayako. Taeko comes to love Kameda, but is loved in turn by Akama. When Akama realizes that he will never have Taeko, his thoughts turn to murder, and great tragedy ensues.

Having a huge interest in reading, I was amazed at finding out that Kurosawa once adapted Fyodor Dostoevsky's The Idiot to the big screen. Naturally one just has to see this work being worked over by the master Kurosawa, but apparently the film wasn't very well received, and is criticized for being a rushed production and overall weak entry in the director's otherwise flawless filmography. Granted, it has the most value to viewers who've read the book, but I wouldn't give it as low as scores it's been rewarded with back in the day. Kurosawa shows us a beautiful, snowy Hokkaido and there sets the stage for a very character driven story. 

It's a long sit, and can drag if you're only have a fleeting interest in Kurosawa's black-and-white era, but an interesting film for literature fans.

Genre: Drama

Fires on the Plain (Japan, 2014)

A Japanese soldier endures illness, starvation and brutality in the Philippines at the tail end of WW2.

In 2014, Shinya Tsukamoto (Tokyo Fist) got the chance to direct a remake of a 1959 war movie of the same name, and its got his signature madness all over it. He plays the lead role himself, and gives us the portrayal of a man who slowly slips into violent confusion and disorientation. Both peaceful and patient, while also making sure to display copious amounts of blood and gore, Tsukamoto  has the power to make a relatively low-budget film feel like a huge deal and with a humane running time to boot (1h27m).

Genre: Drama/War

Empire of Passion (Japan, 1978)

A young man has an affair with an older woman. He is very jealous of her husband and decides that they should kill him. One night, after the husband had plenty of sake to drink and was in bed, they strangle him and dump his body down a well. To avert any suspicions, she pretends her husband has gone off to Tokyo to work. For three years the wife and her lover secretly see each other. Finally, suspicions become very strong and people begin to gossip. To make matters worse, her husband's ghost begins to haunt her and the law arrives to investigate her husband's disappearance.

Once again the restless spirits just can't stop walking the Earth. Here we have a rich mix of betrayal, violent passion and ghostly apparitions where the stark colors are almost popping out of the screen, and Empire of Passion has been said to be the spiritual successor to Nagisa Oshima's (who has one hell of a track record including Merry Christmas Mr. Lawrence and Taboo) highly acclaimed In the Realm of the Senses (1976). He also has a way of not depicting sex as a toned down and overly romanticized act, but rather raw and honest. An empire well worth visiting.

The striking and beautiful French poster.

Genre: Drama/Horror/Romance

The Burmese Harp (Japan, 1956)

Mizushima is a soldier in the Japanese army in Burma in World War II. He's a good soldier and frequently plays his harp to entertain his fellow soldiers. When the war comes to an end, he is asked by the British to go into the mountains to try and convince a Japanese troop to surrender. Given only 30 minutes to convince them, Mizushima is unsuccessful - they would rather die with honor - and the British attack. Deeply affected by what has happened, he becomes a Buddhist monk, traveling the countryside burying the remains of Japanese soldiers. 

The Burmese Harp is centered around religion and Buddhists beliefs, without beating you in the head with it which easily could have been the case. It's a beautiful and haunting look at post-war Japan, with memorable scenes and lovely authentic scenography. Director Kon Ichikawa  (An Actor's Revenge, The Makioka Sisters) was supposed to shoot the film in color but due to large and bulky cameras that he was afraid to damage by accident he instead shot the film in black-and-white.

Genre: Drama/War